A STUDY ON KAIROS EXEKIAS’S AMPHORA DEPICTING ACHILLES SLAYING PENTHESILEIA (VI CENT. BC)

Even though many specialized studies have contributed to the conceptual framework of kairos, there has been very little research dealing with this notion in ancient arts. Observing this gap, principally in what concerns Greek pottery, the author explores Exekias’s pictorial rendition of Achilles slaying Penthesileia in a black fgure amphora dating from VI BC, in order to draw attention to the hermeneutical possibilities arising from a comparatist approach interested in the interaction between words and images. Specifcally, the author proposes that vase fgurations contribute to rethink kairos, principally in what concerns the chain of meaning generated by the association of pictorial materials and ancient philosophy, including key-terms from early Hippocratic medicine, such as that of krisis.info:eu-repo/semantics/publishedVersio

Application of the Humanistic Model Theory Accelerated Learning Through Approach CLAY To Improve Students' Critical Thinking Skills

Islamic education learning so far has often been trapped in conventional approaches that do not involve physical and intellectual activities, so they are unable to train students' abilities to solve critical problems logistically, quickly, and precisely. This research aims to provide alternative solutions to PAI learning problems through the application of humanistic theory, accelerated learning models through the SAVI approach, and analyzing its impact on students' critical thinking skills. This research used a qualitative descriptive method with research subjects, namely 1 PAI teacher and 20 class VIII students at Darmayanti Cimaung Middle School. Data collection is carried out through interview techniques, observation, documentation, and questionnaires, the results of which are then analyzed and compiled in the form of a research report. The research results show that the application of humanistic accelerated learning theory through the SAVI approach can improve students' critical thinking skills by 80.62% in the good category. So it can be concluded that the theory of the humanistic accelerated learning model through the SAVI approach can improve students' thinking skills

The Reality of the World and the Multidimensionality of the Reality of the Individual: The Semantic Meaning of Architecture of Consciousness

In psychology, the world's multidimensionality is manifested in the study of consciousness, in identifying the methodological foundations of psychology and psychology of consciousness. The structure of the multidimensional world of a man is described from the point of view of the subject's understanding of the characteristic features of the realities where man lives. Aims of study are to formulate and consider the problem of the world's reality and the multidimensionality of the reality of the individual in the perspective of the semantic architecture of consciousness and within the framework of a holistic model of representation of the psychology of understanding the human world. The pragmatic aim of the present research is to set a quantitative measure in which a person is drawn into virtual reality (TER). The meta-analysis of publications with quantitative empirical data reporting on the results of staff training using virtual and augmented reality. The criteria of the search were that articles must be published exceptionally in peer-reviewed journals and be issued not older than in 2017. The platform for the effective search was the Google Scholar search engine. The transfer efficiency factor (TER) was the key element of the analysis. All gathered data extracted from the relevant literature sources were interpreted through observation, description, quantitative calculation, complex analysis, methods of comparison, generalization, and abstraction method. Although learning conditions with more virtual immersion lead to slightly worse results than real learning conditions, most people show similar results after learning, regardless of the level of virtual immersion. The inhomogeneity of acceptance by individuals of virtual reality is found out in quantitative data of the considered studies. The average score for the performance of each training condition represented in the scientific works considered for this study, as well as the 95% confidence interval, was calculated. It was found out that the value of TER 0.5 turned into a percentage by multiplication by 100%, indicates that training on the simulator can reduce the time of personal training by half. Presence is a psychological phenomenon that occurs in the human mind, not in specific technologies. The usage of virtual reality in learning affects the sense of presence and immersion. It directly affects an individual's perception of world reality. At the same time, the individual consciously accepts the picture of simulated reality, which emphasizes the multidimensionality of the individual's reality

Theory and application of audiovisual materials in the English classroom

Treballs Finals del Grau d'Estudis Anglesos, Facultat de Filologia, Universitat de Barcelona, Curs: 2016-2017, Tutor: Roger Gilabert Guerrero[eng] In the information era, the media have become a central focus in people’s lives. We are surrounded by the visual, and TV series and other online videos are very popular entertainment systems, specially among teenagers and young adults. Introducing audiovisual materials in the English classroom offers an unlimited number of possibilities for teachers and students, since videos are both authentic and motivating materials. The premise behind this paper is Mayer’s Cognitive Theory of Multimedia Learning, which believes that information is better learned if presented with words and pictures at the same time. This paper gathers the most important findings regarding multimedia and the use of audiovisual materials in the fields of SLA and TEFL, as well as the use of subtitles and captions to promote language learning.[cat] A l'era de la informació, els mitjans de comunicació s'han convertit en un dels principals interessos en les nostres vides. En un món ple d'imatges, les sèries de televisió i els vídeos a Internet són un dels sistemes d'entreteniment més populars entre els joves, i la possibilitat d'introduir materials audiovisuals a la classe d'anglès suposa un ampli ventall de possibilitats tant pels professors com pels alumnes, ja que els vídeos són materials autèntics i motivants. La premissa en la qual es basa aquest treball és la teoria cognitiva de l’aprenentatge multimèdia (Cognitive Theory of Multimedia Learning) de Mayer, que creu que s'aprèn millor si la informació es presenta en forma de text i imatges. Aquest treball recull les troballes de l'estudi de l'prenentatge amb multimèdia i l'ús de materials audiovisuals en els camps de l'Adquisició d'una segona llengua i de l'Ensenyament l'anglès com a llengua estrangera, així com la utilització de subtítols per promoure l'aprenentatge lingüístic

Reshaping aesthetics and aesthetic sensibility in a hybrid environment

The contemporary environment in developed countries is highly urbanized and technologized. It is not only physical but also virtual, created with the use of cyber-techniques and the internet. The two layers of the environment are: the physical places, persons, objects, etc., and the virtual - electronically-emerged places, persons, and objects, etc. Therefore, it is correct to overcome the enforced conceptual dualism between what is virtual and what is physical, as proposed by Michal Ostrowicki (aka Sidey Myoo) in calling for the recognition of the hybrid status of reality, by pointing to symbiosis within the context of lived experience. This raises questions on the kind of experience one has in a hybrid environment, and how this in turn influences one’s practices and forms of being with others. Trying to respond to these questions will lead us to recognition of the ongoing transformation of aesthetic sensibility in a hybrid environment, and of the need for aesthetic reflection to respond to this. This will be done in the following paper by recognizing the community-building potential of art in both layers of a hybrid environment, the physical and the digital, which leads to emergence and functioning of communities in such an environment, showing the necessity of broader research in this field

The Effect Of Vak (Visualization, Auditory, Kinestethic) Learning Model On Students’ Achievement In Writing Descriptive Paragraph At Tenth Grade Students’ Of Mas Al-Washliyah 30 Binjai

This study deals with the applications of Visual, Auditory, and Kinesthetic (VAK) Learning Model on Students‟ Achievement in Writing Descriptive Paragraph. The purposes of the study are to know the process of the VAK (Visualization, Auditory, Kinesthetic) learning model of the students‟ achievement in writing descriptive paragraph and to find out the significant effect of the students‟ achievement is writing descriptive paragraph taught by VAK (Visualization, Auditory, Kinesthetic) learning model in the tenth grade at MAS AlWashliyah 30 Binjai. This population of this research was all students of class X of MAS Al-Washliyah 30 Binjai. The samples of these research was 29 students of experimental group (class X-1) and 28 students of control group (class X-2) The researcher was conducted by using experimental model significantly affected the students‟ achievement in writing descriptive paragraph. The instrument for collecting data was writing a test. The formula that using in this research was using by t-test formula. The data was found that the scores of the students in the experimental group were significantly higher than the scores of the students in the control group at the level of significance ɑ is 0.05 with the degree of freedom (df) 55, t-observed value 2.913 > t-table value 2.009. It means that Visual, Auditory, Kinesthetic (VAK) Learning Model has a significant effect on students‟ achievement in writing descriptive paragraph

Audience Embodiment in Haptic Space of Film

Film theoreticians, in the early stages of practice, emphasized the corporeal characteristics of the medium and the relationship between cinematic space and the spectator’s body. Besides, in the opposite direction to the early cinema concentration on audience bodily connection with the film, by the evolution of cinematic language, major streams were formed towards narrative identification. This transition led to the long supremacy of linguistic and psychological based theories of film. In the decades of the seventies and eighties, the connection between cinema apparatus and the renaissance perspective formed the fundamental discourse of film theories. Writers such as Baudry, Metz and Heath analyzed the liaison between the viewer and the screen based on the perspective model. Roots for advent of perspective theory must be sought in the optical theory of the Ancient Greek. Optical theory was based on a perceived distance between the subject as a seer and a corresponding object being seen, and provided the necessary conditions for the formation of the pattern of western thinkers to ponder the world order from a distance. The emergence of perspective understanding in the renaissance period helped the revival of optical spatial pattern that in turn consolidated the position of the subject and strengthened the distance between subject and object. In recent years, it seems apparent that there have been attempts to return to the body-centered theories of early cinema, and to accentuate the relation between the viewer body and the cinematic space. In the other direction of the dominance of optical film theories that ignore corporeal-sensual existence of the audience, it is appropriate that the bodily and haptic film theory would be reconsidered. Thus, by lending from Merleau-Ponty idea of the embodied subject, the film experience could be defined based on the experience of the embodiment of the audience in filmic space

Audience Embodiment in Haptic Space of Film

Film theoreticians, in the early stages of practice, emphasized the corporeal characteristics of the medium and the relationship between cinematic space and the spectator’s body. Besides, in the opposite direction to the early cinema concentration on audience bodily connection with the film, by the evolution of cinematic language, major streams were formed towards narrative identification. This transition led to the long supremacy of linguistic and psychological based theories of film. In the decades of the seventies and eighties, the connection between cinema apparatus and the renaissance perspective formed the fundamental discourse of film theories. Writers such as Baudry, Metz and Heath analyzed the liaison between the viewer and the screen based on the perspective model. Roots for advent of perspective theory must be sought in the optical theory of the Ancient Greek. Optical theory was based on a perceived distance between the subject as a seer and a corresponding object being seen, and provided the necessary conditions for the formation of the pattern of western thinkers to ponder the world order from a distance. The emergence of perspective understanding in the renaissance period helped the revival of optical spatial pattern that in turn consolidated the position of the subject and strengthened the distance between subject and object. In recent years, it seems apparent that there have been attempts to return to the body-centered theories of early cinema, and to accentuate the relation between the viewer body and the cinematic space. In the other direction of the dominance of optical film theories that ignore corporeal-sensual existence of the audience, it is appropriate that the bodily and haptic film theory would be reconsidered. Thus, by lending from Merleau-Ponty idea of the embodied subject, the film experience could be defined based on the experience of the embodiment of the audience in filmic space

Audience Embodiment in Haptic Space of Film

Film theoreticians, in the early stages of practice, emphasized the corporeal characteristics of the medium and the relationship between cinematic space and the spectator’s body. Besides, in the opposite direction to the early cinema concentration on audience bodily connection with the film, by the evolution of cinematic language, major streams were formed towards narrative identification. This transition led to the long supremacy of linguistic and psychological based theories of film. In the decades of the seventies and eighties, the connection between cinema apparatus and the renaissance perspective formed the fundamental discourse of film theories. Writers such as Baudry, Metz and Heath analyzed the liaison between the viewer and the screen based on the perspective model. Roots for advent of perspective theory must be sought in the optical theory of the Ancient Greek. Optical theory was based on a perceived distance between the subject as a seer and a corresponding object being seen, and provided the necessary conditions for the formation of the pattern of western thinkers to ponder the world order from a distance. The emergence of perspective understanding in the renaissance period helped the revival of optical spatial pattern that in turn consolidated the position of the subject and strengthened the distance between subject and object. In recent years, it seems apparent that there have been attempts to return to the body-centered theories of early cinema, and to accentuate the relation between the viewer body and the cinematic space. In the other direction of the dominance of optical film theories that ignore corporeal-sensual existence of the audience, it is appropriate that the bodily and haptic film theory would be reconsidered. Thus, by lending from Merleau-Ponty idea of the embodied subject, the film experience could be defined based on the experience of the embodiment of the audience in filmic space

The Contemporary Relevance of Kant’s Transcendental Psychology

The purpose of this thesis is to demonstrate the contemporary relevance of Kant’s transcendental psychology against the orthodoxy of the dominant analytic school of philosophy, in an aim to salvage it from criticisms that resulted in the widespread view that Kant had little to say about the mind that was correct or useful. Historically, this had led to the near exclusion of Kant’s views of the mind from mainstream philosophical debate; those who acknowledged intellectually the psychological import of the work deemed as having transgressed the bounds of proper philosophy. It is argued that this was, and still is, an unfortunate and narrow view, since an interpretation which fully embraces the transcendental aspect can provide invaluable insights and direction for contemporary research in cognitive science and cognitive neuroscience. A major focus of this work is to provide a rigorous conceptual analysis of the modern problem of consciousness and to show that every approach has become a response, positive or negative, to the Cartesian distinction between body and mind. Today, more than three hundred years after Descartes’ philosophical dualism, this powerful and persuasive argument still continues to hold fast. Cognitive neuroscientists have amassed a deep and detailed understanding of how our brains process information from the external world, but the question of how this information is transformed into conscious experience is deemed an unsolved problem. It is proposed that, although Kant never uses the concept of consciousness in the now dominant sense of phenomenal qualia, his theory of the transcendental subject is a valuable tool in unravelling the philosophical complexities that are commonplace in current theories